Dad3353

That's probably close to what would happen; it has to be said that these '8 Ohm' figures are not absolute, but in fact vary according to the frequencies and currents applied, and are really just 'nominal'. I'm guessing that there's an un-asked question here somewhere; what problem or issue are you thinking of solving in this way..? Why do these impedance figures matter to you..?

You're biased.

It has a label on the front 'FET' (Field Effect Transistor...), which acts, in many ways, like a valve. There are many power amps with FET output stages, exactly for this functionality.

One on each input, so 2 x bass drum, 2 x snare, 2 x hi-hat, 3 for 3 toms, 2 x o/h, 1 x ambient. 1 x 2-channel master o/p to PA. Each has its own settings, depending on needs; sometimes by-passed.

... which, to judge from your posts here, is a darned sight more than you..! (Disclaimer : I'm a drummer...)

New music..? I'll just leave this here ...

Well, that was certainly a very difficult listen. No, I didn't stick around till the end (bailed at 10'30"...); it was better before the guitarist finally got his space-ship pedalboard to work. Free jazz..? Hmm... Not much 'jazz' in there. Infinite monkeys came to mind; maybe, by accident, a few decent seconds to be gleaned, but I've a life to lead, soooooo... I'm out.

Fixed (and perfectly true...).

Maybe try one out on the singer, then..?

I read the OP as being guitars tuned to 'Eb', with a capo to bring 'em to 'E', which they sometimes remove to drop back to 'Eb'. Seems odd, but... Maybe to suit the singer..?

Drop down a semi-tone from where..? If the guitars are tuned to 'E', with a capo they could be anywhere. If the guitars are down-tuned, with capos (why..?), down-tune the bass the same way. I'm not seeing the problem.

Whatever matches the guitars would work, Shirley.

Nave you tried doing the same as them, moving a capo on your bass..?

That's fair enough; other players have different needs, experiences and styles. No-one is obliged to use Fx of any sort, and personal choice comes into it. If you don't need or want it, that's fine.

Well, with bold statements of the sort, there's not much else of a response to give, I'd say. Compression, just like any effect/treatment, has its place, and is very useful in the right circumstances, for bass, guitar, vocals, drums (I'm a drummer...), so saying 'it's all in the fingers' is a bit... simplistic. I don't know if you've read through the pages on the subject linked above; there's much to learn there, for those ignorant of what, exactly, compression is, and what it can do. Worth a look, or not..?

Why does music have to be 'modern' anyway..? Anything, from any era, that you've not heard before is 'new', no..? There are fine sculptures being produced all the time; those crafted in Ancient Rome are still fine, even if materials and techniques have evolved, and continue to evolve. There is music from all around the world, so delving into an Indian back-catalogue, or tuning in to music from Ghana (other countries/continents are available...) should give a lifetime's listening of stuff fresh to our ears. This week's churned-out pulp is no better nor worse than last week's/year's/decade's; crap has always been crap, throughout the centuries. There's Good Stuff from every century, though, just as worthy of being heard. Why this fixation on the date of production..?

Do we have time for an anecdote..? We do..? OK, then, a story from my apprentice days... A young colleague at the time was Mick Greenfield. He was a BEA Mechanics apprentice (I was Avionics...), and, during our training at Heathrow, he had access to some sophisticated machine shop equipment. He made good use of it, re-building a Vincent that he had rescued from goodness knows where. The bike was stripped, and all its mechanics overhauled, restored and made as good (or better...) than new, this over a period of over a year. At last came the Great Day; time to see if the now-complete bike would run. Mick was not really small, but rather slightly built, so, when he primed the carbs, switched on and went to kick it over, he jumped onto the kick, which budged not one bit. Everyone watching had a go, but even heavyweight George couldn't shift it. What to do..? Someone (I forget who...) had the idea of trying a running start, attaching the frame with a chain to the rear bumper of a Land Rover. Mick sat on the saddle as the Landie pulled away, and once a little speed had been built up along the airport car park, he let out the clutch. The Vincent stopped dead, and the rear bumper of the Landie was pulled clean off with a loud 'Clang'. He had to dismantle the barrels and re-bore with slightly more tolerance than the factory spec, and put it back together with lots of oil, to enable the pistons to move. It ran eventually, but it was always a sight to see Mick leap high into the air to kick it into life. All of this, of course, well before the invention of electric start; that would be cheating..! Happy daze..!

Contact the shop, giving them the case number you have, closed or not, and make them aware that you are the rightful owner. Contact the Police, giving them the closed case number too, and explain that the stolen bass has turned up; give them the shop's details, and ask them to call them. Be quick about it; there's a chance it'll all work out, but you need to act, and act now. Report back here with results, please..?

Mine have lasted more than a couple of decades. No, there's no 'zing'; I never wanted 'zing'; it's 'bass' I want.

Is it this fellow..?

Mend your keyboard whilst you're at it. ...

Thanks for the offer, old chum, but 'I'm good', as they say on t'telly these days.